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Dance and Creativity within Dance Movement Therapy: International Perspectives

I About Dance Dance Comes to the Front Stage in Dance Movement Therapy INTRODUCTION DANCE AS IMAGE OR METAPHOR DANCE MOVEMENT THERAPY: OFFSPRING OF DANCE DANCE FOR ONESELF OR FOR THE GAZE OF .ANOTHER PERSON?Dance: Forms of Feelings, Vitality, and Presence Forms of Vitality AESTHETICS AND DANCE MOVEMENT THERAPY Aesthetics, Perception and Knowledge Aesthetics and Creative Living Aesthetics and Emotions Aesthetic Experience/Moment WHAT IS DANCE FOR ME: DMT STUDENTS’ DESCRIPTIONS OF THEIR EXPERIENCE WHILE DANCING Authenticity Vitality and Positive Affects Presence/Embodiment Healing Freedom Self-Awareness Expression of Feelings BRIEF DISCUSSION POSITIVITY IN PSYCHOANALYSIS .AND DMT CLOSING REFLECTIONS NOTES REFERENCES Back to Basics: The Aesthetic, Poetic, and Contemplative Movements’ Attributes That Heal in Dance Movement Therapy DANCE AND MOVEMENT IN DANCE MOVEMENT THERAPY DANCE MOVEMENT ACROSS CULTURES AND HISTORY IN HEALING Dances in Africa Dances in Europe Dances in North America Dances in South America Dances in Asia Dances in Australia and New Zealand Movement Attributes that Heal Across Cultures and History THE THREE MOVEMENT ATTRIBUTES IN DANCE MOVEMENT THERAPY The Aesthetic Aspect of Movement That Satisfies One’s Senses and Perception The Poetic Movement That Enables Expression The Contemplative Process of Moving That Allows for Transcendent Experience CONCLUSION REFERENCES On the Possibility of Authentic Movement: A Philosophical Investigation INTRODUCTION HUMAN BEING AS DASEIN Authenticity: A Heideggerian Perspective “Das Man” and Inauthenticity The Meaning of Authenticity THE ONTOLOGY OF THE BODY AUTHENTIC MOVEMENT: “THE BODY BEFORE THE BODY”CONCLUSION NOTES REFERENCES The Invisible of the Dancing Body INTRODUCTION The Dancing Body, Detached The Given Body, Invisible The Dancing Body, Anamorphosized NOTES REFERENCES II Research The Significance of Dance in Dance Movement Therapy: An International Online Survey With DMT Novices INTRODUCTION DANCE AS A HEALING ACTIVITY DANCE AS AN ART FORM DANCE AS A THERAPEUTIC ACTIVITY PROCEDURE AND PARTICIPANTS Online Survey, and Data Collection with DMT Novices RESULTS DEMOGRAPHICS Dance in DMT: Comparison Between DMT Novices and Experts DISCUSSION Limitations CONCLUSION DIRECTIONS FOR FURTHER INVESTIGATION ACKNOWLEDGMENTS NOTES REFERENCES APPENDIX 1 THE SIGNIFICANCE OF DANCE IN DANCE MOVEMENT THERAPY (DMT): INTERNATIONAL ONLINE SURVEY WITH DMT NOVICES APPENDIX 2 APPENDIX 3 A Way to Embodiment through Aesthetic Relationship: Transformational Body Tracings THE METHODOLOGY OF TRANSFORMATIONAL BODY TRACINGS ON EMBODIMENT MULTIPLE CONTAINERS STARTING AT THE SENSORY LEVEL EMERGENCE OF THE BODY SENSE WHAT HAPPENS WHILE LOOKING BACK AT THE TBT?MULTIMODAL NATURE OF THE PROCESS THE PROCESS OF AESTHETIC DIALOGUE TBT AS A PARTNER IN DIALOGUE THE TIME FACTOR CONCLUSION REFERENCES “Being Moved” as a Therapeutic Factor of Dance Movement Therapy INTRODUCTION BEING MOVED IN DMT Experiences From Empirical Projects BEING MOVED IN COGNITIVE SCIENCES, PSYCHOLOGY, .AND AESTHETICS RESEARCH BEING MOVED AS A PHYSIOLOGICAL REACTION ACROSS CULTURES Being Moved as a Physiological Reaction Being Moved Across Cultures Nonverbal Indicators of Being Moved BEING MOVED AS AN (AESTHETIC) EMOTION Being Moved as an Emotion Being Moved as an Aesthetic Emotion BEING MOVED LEADS TO APPROACH ACTION TENDENCIES Being Moved Causes Action Tendencies Implications for Arts Therapies BEING MOVED IN THE MODEL OF EMBODIED AESTHETICS The Model Implications for Future Research CONCLUSIONS NOTES REFERENCES APPENDIX A APPENDIX B Wording the Complexity of Dance Movement Therapy: A Scoping Review on How Dance Movement Therapists Describe Their Clinical Practice INTRODUCTION METHODOLOGY RESULTS FRAME 1 META-THEORETICAL CONCEPTS FRAME 2 THERAPY THEORY FRAME 3 THERAPY STRUCTURES FRAME 4 APPLIED DMT ACTIVITIES DISCUSSION Feasibility of the Four Frames Future Perspectives REFERENCES (*INCLUDED INTO THE SCOPING REVIEW)Creating Breeds Creating LAWS MECHANISMS Nine Fundamental Mechanisms of DMT BELIEFS, METHOD/APPROACHES, INTERVENTIONS Beliefs/Values/Assumptions/Core Concepts/Philosophies (Beliefs)Theories, Approaches and Methods Interventions A-FECT MOVEMENT PHASES AS A TEACHING METHOD/ APPROACH Aesthetic Movement Functional/Developmental Movement Expressive Movement Communicative Movement Transformative Movement CONCLUSION REFERENCES Creating the Dance of Self: A Stage Theory of the Creative Process in Dance/Movement Therapy Kristine Purcell INTRODUCTION COMPONENTS AND STAGES Stages in the Creative Process in DMT We Do Not Dance a Straight Line THE ROLE OF THE THERAPIST ADDRESSING CLINICAL POPULATIONS Reach Out, See Me CONCLUSION NOTE REFERENCES III Practice Dancing Activism: Choreographing the Material with/in Dementia INTRODUCTION PHEMATERIALISM IN MOTION MATERIAL FOR LIFE Listening with Movement Making (the) Material Participatory Ecologies Giving-Back Shouting Silently Summer 2017, London-Tokyo Winter 2017, Florence-London Winter 2018, London WE’RE DOING THIS TOGETHER The Dance Studio Ties That Bind MOVING WITH THE TROUBLE NOTES REFERENCES Seeing With the Heart: The Aesthetics of Dance/Movement Therapy with Older Adults and People With Dementia INTRODUCTION THE CHALLENGES DISCOVERING MY PERSONAL AESTHETIC AESTHETICS IN DANCE/MOVEMENT THERAPY WITH PEOPLE WITH DEMENTIA Intention Image Shifting Focus Optimizing the Environment Through Props Group Leader’s Movement Style Salient Moments Closing Ritual SUMMARY REFERENCES Dance-Rhythm-Therapy for Patients with Parkinson’s Disease INTRODUCTION A DANCE-RHYTHM-THERAPY METHOD: PRIMITIVE EXPRESSION The Ritual Rhythmic Games Creation Times The Therapist’s Function The Symbolization of Impulses The Self-Awareness Process PARKINSON’S DISEASE (PD)Dance, Rhythm, and PD Meeting the Patients CREATION OF .AN ADAPTED DANCE-THERAPY WORKSHOP IN COLLABORATION WITH PATIENTS7 At the Body Level At the Social Level At the Psychic Level BRIGITTE, THE JOY REDISCOVERED CONCLUSION NOTES REFERENCES Dance Movement Therapy and Psychosocial Rehabilitation: Model Sampoornata INTRODUCTION DANCE AND ME SEARCH: A NEW JOURNEY FORMATION OF KOLKATA SANVED Facilitator’s Role in the Process Settings of Kolkata Sanved’s Work HOW SAMPOORNATA IS DIFFERENT FROM OTHER DMT MODELS MAIN CHARACTERISTICS OF SAMPOORWATA Sampoornata Addresses Gender-Based Violence As a Social and Structural Problem SAMPOORNATA IS AN EVIDENCE-BASED AND TESTED MODEL Steps Towards Quality Control Through Evidence Gathering CONCLUSION NOTES REFERENCES Asian Cultural Body, Dance and Therapy: A Korean Perspective BODY AND MIND IN EAST ASIA PSYCHOTHERAPY IN EAST ASIA Individual vs. Community When Voice Is Not Allowed, Dance SPECIFIC KOREAN EMOTIONS Haan: A Cultural-Psycho-Social Perspective Haan as a Somatic Symptom and Cultural Syndrome Haan and Generational Trauma CASE STUDY: BROKEN HEART FROM A WOUNDED LAND Description of the Patient Summary of Sessions RESULTS Theme 1. Desire to Move Forward Theme 2. A Boiling Emotional Container Theme 3. Body in Pain and Shame CONCLUSION NOTE REFERENCES Dance/Movement Therapy in Japan and its Cultural Roots GENERAL HISTORY OF DANCE/MOVEMENT THERAPY IN JAPAN TRADITIONS OF THE BODY Bathing Culture Use of Touch and Massage TRADITIONS OF IMAGERY FROM FOUR SEASONS INFLUENCES OF WESTERN DANCE/MOVEMENT THERAPY AN INFLUENCE OF BUTOH IN JAPANESE DANCE/MOVEMENT THERAPY AND NOGUCHI TAISO CULTURAL SENSE OF BELONGINGNESS AND VERBAL SHARING PERSONAL DEVELOPMENT AS KMP ANALYST INTEGRATING WESTERN AND JAPANESE INFLUENCES SUMMARY NOTES REFERENCES Dance Movement Therapy and Flamenco: Relationships Through Traditional Rhythms INTRODUCTION ASPECTS OF FLAMENCO THAT CONTRIBUTE TO THE HEALTH OF PEOPLE WITH SEVERE MENTAL DISORDERS Expression and Communication Time and Rhythm Body Action and Body Awareness, Movement, and Dance SPECIFIC DMT GROUPS INTEGRATING FLAMENCO IN TENERIFE, CANARY ISLANDS, SPAIN Context Patients/Groups METHODOLOGY Process Evaluation Study Discussion CONCLUSION APPENDIX NOTES REFERENCES Time, Space, and an Aesthetics of Survival: Dance/Movement Therapy and Embodied Imagination After Unimaginable Loss INTRODUCTION DESOMATIZING MEMORY SUSTAINING RHYTHM DMT WITH ADOLESCENT FEMALES REINVENTING RITUAL PROCESS IN DANCE WHAT THE BODY REMEMBERS IS PARADOX DANCING, THE ORPHAN BOYS OF KOINDU RECALL SIMULATING RITES OF PASSAGE PROCESSING TOWARD THE FUTURE WITH THE RAST IN MIND Passing Crossroads Pluralism’s Procession A CIRCLE WITHOUT BEGINNING, WITHOUT END NOTES REFERENCES As the Dance Winds Down: Coping with Aging as a Dance Therapist REFERENCES

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INTRODUCTION